Posts for: April 2014

Sunday, April 27, 2014

Violinist and generous young visionary, Kristin Lee

My friend Charlie recently asked the head of the Curtis Institute how he’s advising their incredibly gifted students about the job market for classical music, which, as everyone knows, is a thinning slice of a shrinking pie.

Roberto Diaz’ answer: ”We tell our graduates they need to be entrepreneurial and creative. They need to take charge of their own careers.”

In the short span of 3 evenings, Tom and I have witnessed three women classical musicians who are doing just that. My series of posts about these remarkable evenings will begin with the youngest artist, whose work is magnanimous and daring in spirit.

Four years ago, I first heard Kristin Lee in several concerts for Astral Artists. She played virtuosic violin works from the concert repertoire with brilliance and heart, and a gutsy, rich sound. A little while later, I heard her play some rhythmically tricky contemporary recital music that was equally impressive for her precise and seamless collaborative work with two different pianists.

Later, we both appeared in a promotional film for Astral; I was a talking head, while Kristin was shown in several scenes, one in which she wears headphones in a recording booth, playing the crossover music for the film.

So I was curious to hear what she would do for LiveConnections at World Cafe, the performance space/bar/restaurant of WXPN at the University of Pennsylvania. Over the past two years, Kristin had raised the money to a.) commission five composers to write new work for her and b.) pay fellow musicians to premier these works with her onstage.

The bistro space in the basement of World Cafe is spacious, with a balcony and a main floor filled with long, communal tables. Waiters pad around bringing food and drink to patrons who wait in semi-darkness for the show to begin. The non-traditional, open atmosphere increased the audience’s anticipation for something new, and for who-knew-what?

Kristin put together a program (what she called a “Playlist”) that could not have been more global or colorful. It began with Patrick Castillo sitting beside her, speaking the words, “Last night I dreamed I was in Paris…” Kristin began to play over computer sound loops he’d created, that repeated along with his recorded and live speaking voice, in overlapping layers. This was followed by Kristin and percussionist John Hadfield accompanying Shobana Raghavan’s haunting, clear South Indian Carnatic singing.

Jason Vieaux*, renowned classical guitarist, joined Kristin in Vivan Fung’s “Twist,” in which they both mimicked the sounds of classical Chinese instruments.

Most unbelievable was the virtuosic steelpan work of Ian Rosenbaum, who played Andy Akiho’s “Deciduous” (we learned later in the Q and A that Ian, a percussionist, learned the piece AND the instrument in the past month.)

Most novel, hard-to-describe, and entertaining? Jakub Ciupinski, who “played” the theramin, not as an instrument for a horror movie soundtrack, but as an input device for the computer-generated sounds he’d created. Jakub’s flowing hair and hand motions, as he took visual cues from Kristin, displayed an arresting and energetic choreography.

Most beautiful moment? For me, this was a piece from the traditional repertoire. Kristin performed Camille Saint Saens’ “Fantaisie,” Opus 124, with Bridget Kibbey*, a harpist of astounding musicality and freedom, who can imbue a seemingly simple chord progression with urgency and meaning.

In keeping with the “breaking down barriers” nature of the evening, LiveConnections’ classical curator Mary Wheelock Javian led a Q and A with the audience. After answering a question from a concerned lady who wanted to know how much her promising 15 year-old nephew ought to be practicing (“he’s not going to want to hear this, but four to five hours a day,”) Kristin answered the question “Why this project?”

She talked about being trained in the classical tradition, which she loves. She talked about being introduced to indie rock by an enthusiastic young relative. She talked about wanting to change the mindset that divides audiences into camps: contemporary music in one camp, traditional classical music in another. She wanted to bring divided audiences together.